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Showing content with the highest reputation on 14/09/19 in Posts

  1. I returned today, to one of my old, favoured bass places, Promenade Music in Morecambe. Used to go there every few weeks but hadn't been for 2 years. Anyway, Gary's still working there and is a great bloke for loads of friendly, knowledgable chat and a cup of tea. Had a hankering for another 4-stringer and after some discussion, we more or less narrowed it down to 3 basses. A Marleaux Consat Custom 4 (used), a Fender Flea Signature Active Jazz Bass, in Satin Inca Silver and a Musicman Stingray Special, in Chopper Blue. The Marleaux is a superb bass, with a classy, hand made feel and quality woods. The only part that didn't impress me was the pre amp, it just didn't seem to deliver, to my ears. I was a bit dubious about the Flea Jazz but I have to say, I think it is a great bass. I reckon Flea told Fender to take a JB and make as much like a Stingray as they could. And they've done a bloody good job, IMO. Very solid and resonant, really well built and a rather good pickup. The only changes I'd make would be a 3 band EQ, instead of 2 and a slightly wider string spacing at the bridge end. I would have been very happy to bring it home with me but as the title suggests, the winner was the Stingray Special. Now I already have a standard 2014, EBMM Stingray, with a single HB and 3 EQ, that I reckon is great. So why get this as well, other than the usual excuse of permanent GAS? To me, there enough differences between the 2 Stingrays to give enough of a different playing experience. The Special has a slightly different pickup, with Neodymium magnets and an 18 volt pre amp, to deliver even more bassy goodness. The gorgeous, roasted maple neck feels a tad narrower, with slightly more rounding off, of the rosewood fingerboard's edges and lovely stainless steel frets. The tuners are definitely nicer, with a more 3D ergonomic, comfy feel to them and the body is rounded at the neck heel to improve one's upper fret playing experience. Also, overall the bass is a little lighter. So does all this make the Special better than my old Stingray? Probably yes but I do so enjoy my older model, it's not going to be left on it's stand. I really like the Chopper Blue coloured body, with the pearloid white pickguard, black pickup and chrome hardware. This is a pretty bass and definitely feels like it's got all the iconic, classic aspects you have to have in a Stingray. Yet it's subtle improvements feel like a natural evolution, with no revolution needed, thankyou. I'd test driven this beauty through a rig very similar to my own and so am looking forward to the next band rehearsal. Specifications: Model: StingRay Special Size: 13-1/2" wide, 1-5/8" thick, 44-7/8" long (34.3 cm wide, 4.1 cm thick, 114.0 cm long) Body Wood: Select Hardwoods Body Finish: High gloss polyester Bridge: Vintage Music Man® top loaded chrome plated, steel bridge plate with vintage nickel plated steel saddles Scale Length: 34" (86.4 cm) Neck Radius: 11" (27.9 cm) Headstock Size: Only 8-3/4" (22.2 cm) long Frets: 22 - High profile, wide, Stainless Steel Neck Width: 1-5/8" (41.3 mm) at nut 2-1/2" (63.5 mm) at last fret Neck Wood: Select roasted maple neck Fingerboard: Fretted - Rosewood Neck Finish: Gunstock oil and hand-rubbed special wax blend Neck Colors: Standard – Natural with finished headstock Tuning Machines: Custom Music Man, lightweight with tapered string posts and ergonomic clover design Truss Rod: Adjustable wheel - no component or string removal Neck Attachment: 5 bolts - perfect alignment with no shifting; Sculpted neck joint allows smooth access to higher frets Electronic Shielding: black plated aluminum control cover Controls: 3-band active preamp with 18 volts of headroom; vol, treble, mid, bass Pickups: Standard - Single Humbucking with Neodymium magnets.
    5 points
  2. Its going to be 1972 everywhere in the UK by the time he gets here
    5 points
  3. Hi Basschatters Up for sale is my main instrument from the last 10 years, and only reluctant sale given the "One in - One out" principle as I'm concentrating on fretless in the future. This is one of Mike Lull's earlier creations with a sn. of 479. I guess it's around 20 years old, and brought to Denmark from Ney York by a professional danish bass player, of whom I previously bought another of these basses. For those familiar with these basses, the age can also be detected by a slightly larger head than the current models. We all love our instruments but this one is simply the best of the three M5V I have had over the years, hence the one that stayed the longst. A "pick up and play" instrument commented by all those who have admired, and wanted to try it in the time I have had it. Spec: Beautiful and rare Burgundy Mist finish with very minimal scrathes and marks. None on the front Alder body is my best guess, irrespectively that there is a bit of Ash bark/growl in the sound when recorded. Graphite reinforced Maple neck with rosewood fretboard. Frets recently polished and no signs of wear 35" scale 21 fret neck with 12" fretboard radius. String spacing neck saddle 9,5 mm and 19 mm at bridge which can be adjusted (sideways) if preferred. Weight around 4.3. kg Mike's special wounded Seymour Duncan PU's and 3 band Aguilar pre-amp with passive by pull of volume, and 2 mid frequencies (400/800) No passive tone pot. THE SPECIAL FEATURE: Instead of balance it's fitted with a rotary swith given you: Front PU alone - like an old Fender Telecaster bass with the single coil PU. Both in parallel - Everything you want with a Jazz Sound. Rear PU alone - Pure Jaco Both in series - Powerful almost Musicman type of sound This is as close to a classic vibe modern build "Working man's do all instrument" as you can get, hence why it's been my go to bass for 10 years. And as you can see from the last photo, a small guy like me, 1,82m & 75kg don't have any issues playing a 35" scale bass (Photo from our rehearsal room and not a prison cell :0)) Price including shipping to main Europe and a Mike Lull gigbag. (Will be professional packed for damage free shipping) 20/09/2019: Taste is a subjective matter, but as the yanks are sayin' "Tort goes with everything". Like the tough decision every man faces, blond or brunette? You'd be the judge on that one (spare high quality three layer pickguard from Chandler in the US for one of my previous M5V's - will be part of the package free of charge) Kind Regards Thomas
    4 points
  4. I thought this was another 'show us your rig' thread......😇
    4 points
  5. Basically, doffing one's kecks and flaunting one's trouser trout is something that a tiny minority of male singer / front-men were wont to do back in the late 60's - early '70s. Indeed, among big-name performers I can think only of Mr Mr Pop and Mr Jim Morrison who embraced this approach, though lesser or local luminaries will doubtless have followed suit in homage or in imitation. (As an aside, it should be noted that Mr Fee Waybill of The Tubes was accustomed to wear a fake penis, this peeping coyly from his shorts). We should remember that the 1960's was a decade where going 'sky-clad' was very much a thing among young people, in part because to do so symbolised a rejection of bourgeois values. Nowadays, of course, young radicals never take their clothes off, for fear of triggering other young people. Indeed, it would seem that today's adolescents and young adults consider sexual intercourse to be a hate crime. But I digress. Going butt-nekkid in front of an audience is something that almost never happens these days and in olden times it was pretty much only the singer who did it*. Back then the rest of the band customarily remained fully clothed (though I am open to correction) possibly for aesthetic reasons though - more likely - to accentuate the singer's nudity. Nobody attended a Doors or a Stooges concert in the hope that Ray Manzarek or James Williamson would haul his winkle out and in the event that other band-members had brogged off I would have expected both Mr Pop and The Lizard King to have given them a swift punch up the throat. To be honest, most audiences today would be surprised if the singer took off his clothes but bewildered if the bass player did so. 'Why has the chap with the big guitar dropped his strides?' they'd cry. 'It just doesn't make any sense'. * Apart from the dancer Stacia out of Hawkwind
    4 points
  6. And finally ready to return: Machine heads refitted and nut lowered ( @Sibob may want to tweak them when he resets it but it is at a level where those tweaks should be pretty minor). Because the nut / nut slot is lower, I've chiselled a dropaway angle behind it to ensure the strings have a clear run to the machine heads: It'll be in Monday's post back to @Sibob . No doubt we'll all find out if it's done the trick or not soon
    4 points
  7. A few bands ago, in a trio-plus-vocalist, I was teamed with a very good drummer who was also very inventive. We did "Sultans of Swing" - the original, of course, has keys and a second guitar as well as the lead guitar. After we'd rehearsed it a few times, rather than upping things when the first solo came round, the drummer dropped back. I realised what he was doing and followed him, so we were really underplaying below the first solo which suddenly didn't sound empty. The second solo got full tilt boogie which worked well, but probably wouldn't have without that alternative dynamic on the first one. It wouldn't work on a guitar solo using searing distortion, but fitted nicely with the slightly overdriven Knofler tone.
    3 points
  8. A conflict of interest will occur sometime in the future, it’s what happens when musicians play in more than one band.
    3 points
  9. Genzler Magellan 800 amp for sale. 800 watts into 4ohms, 400 watts into 8ohms. There is a switchable output of 2.7ohms that will allow three 8 ohm cabs to be connected to produce 800 watts. Clean channel, dirt channel and A,B contours controlled by footswitch included. The amp is pristine and comes with a Genzler carry bag. New, this package would cost north of £800. Offered at £550.
    2 points
  10. DeArmond Starfire II hollowbody bass with upgraded Fred Hammon Darkstar pickups! Beautiful shortscale with nice binding on body and neck. This is by all means a tone monster. Very good condition, low action and yeah: awesome sound. The Darkstar BiSonic pickups are very rare and almost never for sale used. Curtis Novak also makes these kind of pickups and they sell for about 250 - 300 euros each! Comes with a Epiphone JC hardcase, which fits perfectly. £745 / €840 including safe shipping within most of the EU/UK. TRADED
    2 points
  11. Hartke LH1000 head A big powerful beast of a head. Not much else to say about it really! It's no looker, as you can see, having clocked up a few gigs, but it's in perfect working order. The Gator rack bag I've been carrying it in of late is included - see photos. It's a great head, but I'm not gigging a whole lot these days, so don't really need it anymore. I'm based in Liverpool - you're welcome to come and give it a try.
    2 points
  12. Just listening to Lemon Jelly’s excellent album Lost Horizons for the first time in many years, so good. Several tracks are joyous, not an epithet I can attribute to much music I listen to...
    2 points
  13. I did a few dep gigs for a blues singer a few years ago. He was well into his 50s, short and very overweight. Imagine my horror when halfway through the encore, he appeared from the rear of the stage totally nude. Not a pretty sight, though surprisingly, the ladies in the audience loved it.
    2 points
  14. You make an excellent point, Mr W. I am sure that various bass players have disrobed before an audience. It's just that advancing years have taken their toll and I can't remember much before last Tuesday.
    2 points
  15. Ashdown cab small, light - one hand lift, (even for me and I’ll never see 66 again) ☹️ which sounds really good. In very good condition, with just the odd mark but nothing major. One ten inch Dual Concentric 250w RMS Woofer, which handles the Lows and Mids + a really nice tweeter, which is very subtle and can be set to either off / low or high - which then gives the cab a nice Hi - Fi voicing, if required, so although primarily bass cabs they are also ideal for keyboards, Guitar or even vocals etc 👍. The recessed metal top handles are great making lifting and carrying a doddle - one journey load / unload Bass, MB200 & leads in Gig Bag on my back and a cab in each hand - Fab 😃👍👍 - now, if only I had a Gig 😂😂!! Combined Speakon and 1/4” Jack Input and link - Life saver !! Here are those nice Specs. we all love so much 😃👍👍... Dimensions - 46 cm High x 32.5 cm Wide x 33.5 cm Deep Weight - 11,5 kg Power Rating - 250w RMS Tweeter - a nice sounding one 👍👍 I can post out to the UK Mainland which would cost £18.00 via Parcelforce 48 if you are too far away to collect, or if not - feel free to nip around for a good try out.
    2 points
  16. I've seen the Chilli Peppers during their only a sock phase... I've also played a gig in naught but a codpiece fashioned from a heavy duty rubber glove... But the band that does much more than take the biscuit is Rockbitch. I've never seen a few thousand bikers, patch club members and Hell's Angels look so scared!
    2 points
  17. Let’s not forget the young lady who used to dance in the buff at old Hawkwind gigs. Her name was Stacia.
    2 points
  18. I've learned loads of songs over the last six months. I find Ultimate guitar easy because it allows you to quickly change between versions (some songs have eight or more tabs, they can't ALL be right). There are several types, the best are pretty accurate and give an idea of the rhythm. Some just give you little more than a set of riffs and a few are people 'interpretation'. Many have minor mistakes, most have bad fingering choices, and a proportion are just totally wrong. At the moment we are trying to build a setlist of about 40 songs, so lots of playing songs on YouTube and trying to sight read the tab (it can be done and makes me even more convinced I'm dyslexic when it come to the dots!) The worst songs are the really complex ones that don't have a clear bass-melody to stick in your head. For complex ones I find Troy's bass covers on youtube are good: https://www.youtube.com/channel/UCQPqVw7y59QuPZdQ6QkuXKQ You can slow down 50% and play along to the sub-bass to learn hard bits 🙂 I find there are two separate things to learn, which rarely go at the same speed: learning the technical bits and learning the song, ideally you want to be good enough so that if dropped in at a random point you can join in quickly (i.e. if you get lost playing with others you can recover and make it seem like you put in a jazzy little fill...)
    2 points
  19. Last year my girlfriend gave me a rather fetching pair of tiger skin pants as a joke present. I play guitar in a glam punk band and wear a tiger skin suit. She dared me to wear them for a gig, not being able to resist a challenge I went for it. I'd also taken to running to keep fit and the thought of my impending exposure made me keep to my exercise regime in order to look my best. At the gig I played most of the set fully clothed and when the singer and I left the stage to change for the encore I stripped to my underpants and walked back on stage to shocked gasps (and some laughter) from the audience. The encore was only two songs but when almost naked it did seem to last an eternity and once I'd smashed my guitar (it's a special one that I can smash and rebuild) I felt very exposed. I can't say I would do it again but it's certainly something I can tell the grandchildren.
    2 points
  20. A number of the Phil Jones amps are dual input. A cheaper option which may be "good enough" could be to use a decent 2 channel mixer in front of the amp to save yourself the cost of a new rig?
    2 points
  21. I’m thinking of tasking @Jabba_the_gut to build his basses with a tit chamfer, I’m sure it would be a money spinner.
    2 points
  22. I don't mind either way though if I was ordering my dream fretless I'd probably have lines at the edges only, Alain Caron style. Overall, my preference is for lines as I like them for a very quick visual reference though I can do without. My first fretless was unlined. A large part of the game for me is the feel of each fretless bass. Even on a lined bass, you'll soon play without even really considering the lines as your innate sense of muscle memory and intonation takes over. Once your hands are 'tuned in', you're ready to motor. I certainly don't subscribe to the stuffy attitude that unlined is superior despite having first learned that way (I even had a lovely unlined fretless Alembic Epic years ago). Gary Willis plays with lines and I've never met an internet critic that could play like he does.
    2 points
  23. Another reason to play flats ...
    2 points
  24. So right. When we started out the drummer was in another band. We got a great offer to support a well known band, playing early. But he had a gig with his covers band the same evening. Now we would have been on at 7:30 - 8, his covers band would have started at 9:30. It was a 30min drive between venues. But the other band refused to set everything up, saying they all needed to be there for that, so we didn’t get to do the gig. Now there is the argument that he was in the covers band long before we formed, so in reality it was us diluting the covers band, and not long after he did leave as he couldn’t stay in 2 regular gigging bands full time.
    2 points
  25. What would be amazing is five toneprints. Any you want, any combination. Swoon.
    2 points
  26. Hope I love them. Never had one and there’s one incoming! 😆
    2 points
  27. Also, Lionize - who are protege's of Clutch - have a new album coming out soon with Jean-Paul Gaster on drums. If I could play with any drummer it'd be him - he's such an expressive player, with so much groove
    2 points
  28. It's a less sophisticated unit than the FI that lets a bassist, who doesn't want to have to spend hours and days deep diving into PC editing, get some very usable sounds quickly. Where the FI wins: overall more capable and more tweak-able synth engine midi enabled ability to provide 99 presets Where the SY-1 wins: flawless tracking all the way down to a low B (and not requiring a staccato / muted style to avoid glitching) immediacy of dials (no need for an app/midi/PC) to access some great synth sounds £175 vs £329 (new) arpeggiator polyphonic straightforward parallel loop capability ability to use an expression pedal smaller footprint So for me it was a no-brainer in going for the SY-1, which I'm loving, and I'm not missing my FI at all. For others, the pros / cons may push them to getting an FI.
    2 points
  29. I loaned the little vtbass to a mate who has a full ampeg rig, complete with 8x10 fridge. His response was “it rocks!”. I will take that as a vote of approval.
    2 points
  30. Don’t forget the dressing up in a French maid’s outfit with roller skates...
    2 points
  31. From what I can see, at £500 it makes you significantly poorer, but marginally taller.
    2 points
  32. After a rethink on the price, a huge price drop to £2750, now £2350! (sorry I couldn't change the main add price after I had posted it originally). After some considerable consideration, I have decided to sell my original 1974 Fender Jazz bass. The bass has the original black factory finish (custom colour for the time), with a black pick guard and complete with a maple neck with pearl blocks. All the parts are original to my knowledge. The bass is also lightweight at just over 8lbs. I am the 3rd owner, the guy I bought it from had it from 1980 and he bought it from the original owner. The bass is dated from the neck plate 502248 (source - Fender Vintage 50,000 to 58,000 = 1974, and the pick ups which are stamped 74 (one clear to read one not really readable but it is the original one). The original pots are dated from 1973, and the neck is actually dated from 1972 (02033923) meaning Jazz bass, Maple neck, Wednesday 27th September 1972). There is nothing "funny" about this, it was common place for Fender employees to just grab parts off the shelf. All the parts are original to this bass except the pick guard. Somebody had tried to relocate the thumb rest but the holes have been refilled. I managed to source an original 1974 pick guard from the USA so it's back to original! The bass came to me with a generic 70's case, however I bought a period correct Fender case from Tony Williams (bass player of Stealers Wheel fame and who toured with Jethro Tull in the late 1970's). He very kindly sent me a certification of authenticity with the case and a Jethro Tull touring tag (see pics). The bass was set up to perfection by Xperience Guitars in Nottingham, (low action, currently with Rotosound 105-45 Swing Bass strings). All the electrics work fine, the bridge pick up has been repaired but it is the original one, and rest assured everything functions exactly as it should. There are a couple of marks on the neck, non of which effects playability. The bass has marks, light scratches, dents etc... and crazing as you would expect, but overall i'd say it is in excellent condition for it's age. It sounds sweet as a nut too! So, the bass comes with the period correct case with certificate from Tony Williams, the original pick guard (pick guard replaced with an original 1974 part), original thumb rest with screws, and the original covers too! I am also including an original long screw and saddle that I bought as a spare from the USA. The only parts not original that i'm aware of are the covers screws which are 1970's period correct replacements. I have never used the covers or thumb rest and they are in excellent condition. I have placed them on the bass for photographic purposes. This bass has been used for gigs in Judas Priest tribute band Hell Bent For Priest, Ronnie James Dio tribute band DIIO (D2O), and classic rock and metal covers band Synner. I am only selling this bass because I rarely use it anymore as I am using my Musicman Sabre all the time these days. I think I have priced it fairly at £2750 (new price - £2,350) which includes UK postage (elsewhere at cost,) given I have seen these go for way more than this and that's with missing/changed parts, refinishes, missing case, etc..... I will post but i'd far sooner you came to my place to see and try this beauty for yourself. I live about 5 minutes from junction 26 M1 Nottingham. This is a proper classic, and sorted vintage bit of kit that will only keep on increasing in desirability and value. It plays and sounds wonderful and is in great condition for it''s age, and lightweight too. In fact I have not seen a better one for sale for ages. I will only accept cash on collection, bank transfer or (PayPal if you are willing to pay any additional costs). Please be aware that buyers from abroad not in the EU will incur import duty and tax, paid for by the buyer. In all cases this bass does not leave my possession until I have the money in my hands. I may possibly take a P/X or possible exchange (a Pre-Ernie Ball Musicman Stingray in Sunburst ideally) but a cash sale is much preferred please. Check out the pics. Tony.
    1 point
  33. Yeah, it's not doing anything for me either, and I also love(d) The Who. But they've been a funny one over the last two decades. Every so often there's flickers of hope that Townshend still has it - remember Real Good Looking Boy? And I will admit that I got my hopes up with Endless Wire: sure, it wasn't on par with their '60s and '70s output, but it had its moments. As a lot of critics said at the time, comeback albums usually sound a lot worse. And it beat a lot of the music molesting the charts in 2011(?) into a cocked hat. But then, unfortunately, this comes along and drops into the same bin as Be Lucky. And you wonder how far we are from sinking back into the Kenney Jones era...
    1 point
  34. You're not the only one! I've just enjoyed watching this: https://www.bbc.co.uk/iplayer/episode/b00n93c4/synth-britannia
    1 point
  35. OK this is what I was told many, many moons ago. If you stop down any of the strings between the 1st and 2nd frets you should only just be able to slide a cigarette paper between the string and the 1st fret. Alternatively if you tap the stopped down string over the 1st fret you should be able to hear the 'ting' as they come together. No 'ting' then the nut is too low - and you've blown it! G.
    1 point
  36. Phil is 100% correct. I think the other thing to stress is that an HPF helps with the headroom of an amp. Also slapping sounds better when used with a compressor. As for the amount of treble available from the cabinet, you will soon get used to it and miss it when you try other cabs. Those with a simple crossover to a piezoelectric tweeter will sound really harsh. That is not to say that Piezo’s sound harsh. It is often the way they are used.
    1 point
  37. Post up how it goes... Im playing there next Saturday...
    1 point
  38. The truth of the matter is that once people start doing other things, it dilutes the original band. Diaries clash and disappointment and dep players get involved. Can't be doing with it.
    1 point
  39. 4 string set off my Jazz (thru-body). I think they are 45-105. Silk ends a bit marked but strings as new. Free to good home
    1 point
  40. Warning long story! So when I was around 17 I had a bass tutor who played a MM SUB (USA one) and I loved the sound! I was really into RHCP at the time. I also tried one in a shop and really wanted one but being 17 didn’t have the money. Around the same time I went to Barcelona with the family and saw a USA stingray in teal and fell in love with the look of it. They wouldn’t let me try the bass being a foreign kid but I had this down in my mind as the holy grail of basses. My other basses at the time was a MIM P and a Warwick rockbass. So I continued to ask for a MM Sub for my birthday but my dad found out they had been discontinued. He must have rung every shop in the country and couldn’t get one. Roll on the next year and as it was my 18th the family secretly pooled together and bought me the USA Stingray in teal (made in 2007). Don’t get me wrong, I loved this bass for ages and would play chili’s songs on it all day and night. However, when I then went to study music at university I found it often lacked versatility. I was also experimenting with other basses at the time and in my second year traded it for a Overwater jazz 5. The Overwater was infinitely better and more versatile but i couldn’t get on with the 35” scale length. Anyway, bringing the story to the point (sorry it’s taken this long) as I got better as a musician and played more of a range of music the MIM P bass I got when I was 16 has become more and more my main bass. It wears flats and sounds good for anything, to adjust the tone I adjust how I play it whether that be finger position, technique or attack used. So to counteract your opinion - yes I think the Stingray is overrated. However the last 30th Anniversary 5 in white with the roasted neck that I tried was astonishing. If I didn’t hanker for a Ken Smith I’d be after one of those.
    1 point
  41. Hello ladies and gentlemen. I am 38 years old, I am French. I played the bass of my 12 years when I was 28 years old and then I took a break of 10 years (job, work, child, ...) and I get back to it slowly ..... I'm a fan of English instruments: I play mainly on Status Energy, Shark, Groovebass and Trace Elliot amp. I came to this site in search of a status S2 classic 4 string headless and I decided to stay because this site looks very nice. I forgot: I'm not super strong in English .... but google helps me a lot so sorry in advance for spelling mistakes or phrases with words upside down.
    1 point
  42. It is by its very definition vanity publishing n the practice of the author of a book paying all or most of the costs of its publication no one in their right mind would want to get involved with me.
    1 point
  43. Could it be as simple as 5 options of any toneprint from the database. Could be killer if it is.
    1 point
  44. Actually the best strategy is to do what The Terrortones did. Organise gigs in your home town. Put on reasonably well known bands who are doing a similar style of music to your band and who will play for less than £150, and get your band to open for them. Do this on a regular basis - every 4 to 6 weeks, make it into a decent evening with DJs playing appropriate music between the bands, promote the hell out of it. You'll learn lots from watching the more established bands go about their business (both what's good and what to avoid) and unless your band is dreadfully dull you should start building a decent local following. It also looks good on your band's "CV" for getting decent out of town gigs, when you've got a long list of impressive support gigs.
    1 point
  45. Surely it's not considered cheating if he gigs in a different area code
    1 point
  46. If only these had come up a couple of weeks ago
    1 point
  47. The answer is complicated, because most of the Thiele/Small specs contribute to the driver sensitivity, as does the enclosure. There's no reason why you'd need a lower sensitivity speaker per se, but by and large what contributes to higher sensitivity also contributes to less low end extension, and vice-versa. For that reason if you see a single driver speaker rated at more than 98dB/1w it probably doesn't go very low. By the same token if a single driver speaker claims to be -3dB at 35Hz it can't have much more than 93dB sensitivity. And lastly, if a small speaker claims both low extension and high sensitivity they are, in a word, lying. It's all summed up by Hoffman's Iron Law.
    1 point
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